by Allan Fish
(USA 2006 131m) DVD1/2
Are you watching closely?
p Christopher Nolan, Aaron Ryder, Emma Thomas d Christopher Nolan w Christopher Nolan, Jonathan Nolan novel Christopher Priest ph Wally Pfister ed Lee Smith m David Julyan art Nathan Crowley cos Joan Bergin
Christian Bale (Alfred Borden), Hugh Jackman (Robert Angier/Gerald Root), Michael Caine (John Cutter), Scarlett Johansson (Olivia Wenscombe), Rebecca Hall (Sarah), Piper Perabo (Julia McCullough), David Bowie (Nikola Tesla), Andy Serkis (Alley), Samantha Mahurin (Jess), Roger Rees (Owens), Ricky Jay (Milton),
Christopher Nolan’s fifth film was met with muted applause on its release in 2006. Many critics were impressed by it, yet at the same time maddened by it. Others didn’t rate it at all and couldn’t take it seriously. The reasons for ironically slighting this sleight of cinematic hand were numerous, but mostly centred around several factors, the biggest being the release earlier that year of similar magic trick The Illusionist – backed up by the fact that in the UK the earlier film came out afterwards, and received the fate Nolan’s film had received in the US. That other film was a fine film in its own right, but once the trick is unravelled, there’s not much else to it, while it’s never explained how its protagonist managed to make himself incorporeal. There is nothing in Nolan’s film that isn’t explained, and yet for all that, it remains enigmatic, multi-textured and involving no matter how many times you see it. This is not merely a case of pulling the rug out from under the audience, but convincing them that the rug was never there in the first place.
Set around the turn of the century, Robert Angier and Alfred Borden are two rival up and coming magicians working the theatres of London. Their semi-friendship is blown asunder when Angier’s beloved Julia is drowned on stage in an accident which might have been caused by Borden. Blaming him for her death, Angier swears to make him pay, and their professional rivalry reaches new levels when Borden introduces his long cherished new trick, The Transported Man, onto the London stage, and leaves Angier obsessed with how he did it.
The Prestige is not a film to take lightly, dabbling on the fringes of the occult and sci-fi, it’s impossible to categorise. It’s a mystery, yes, but one that isn’t just interested in how certain things happened, but also making sure the audience doesn’t see it. And, rather than hide the truth at every step, the easier way to do it, it rather uncovers a piece of it on a regular basis to the point where, upon each viewing, fresh clues and nuances are revealed. Whole scenes find themselves playing completely differently to how one didn’t only first see them, as second, third and fourth, too. It plays with you, torments you, and leaves you as hungry for answers as the driven Angier. It dares to have its protagonists cold and obsessive, yet one empathises with each of them. The very nature of show-business is encapsulated on the disparate characteristics of the two men, one a great showman with no talent as a magician, the other a master magician who lacks charisma. It’s that same lack of emotional resonance that many critics railed against, but when has that been a pre-requisite? The fact is these people are driven men, and if the women in their lives seem merely sideshows, that’s what they were to them.
Thus the women in the film are there merely for distraction – and in Johansson’s case, in corset and stockings, a very pleasurable distraction for many – but the film itself tells you that’s what they are there for in the act, and Nolan’s film is one massive magic act, using the film-maker’s box of tricks, as opposed to a stage. There’s fine supporting work from Caine, while Jackman is truly revelatory in what amounts to a man adopting the façade of another man, while also playing another man, hired to act as the façade’s double. Bale also relishes another opportunity to work with Nolan away from Gotham City. I haven’t even begun to mention the incredible visual texture – take a bow, Wally Pfister. The truth is, however, I don’t want to give too much away, even though, as we are told, “the secret impresses no-one; the trick you use it for is everything.”
Wow. This takes me by surprise, but while I probably wouldn’t put it in my own top ten, it’s a happy surprise to see a great film ranked so highly. Hugh Jackman really earned my respect with his work here, and the entire ensemble is strong, including Bowie. Even more than Nolan’s Batman films, this is why I’m eager to see Inception this month.
Aye, Samuel, I’m hearing some very good things about INCEPTION.
Knowing how much you seem to regard Nolan and Johansson I had a sneaking suspicion that you were knocking out a lot of the suspected 00’s greats like DOGVILLE, THERE WILL BE BLOOD, etc for this. I agree with Samuel above about Hugh Jackman here, and would add Bale is good too, even if I didn’t find this film doing a whole lot for me. Once again Nolan delivers a film that’s all about it’s central concept–in this case it’s ‘trick’ twist– and little else. I’m hoping the remaining guilty pleasure/personal picks are quite a bit more exotic then this one.
Now, for some reason, I almost suspect we’ll see “Dr. Horrible’s Sing-A-Long Blog”. Then again, maybe I’m being pessimistic.
pessimistic?
it would be a blow in the head for all of you.
and I’d be happy.
with the choice, not the blow in the head.
Heaven forbid. I’ll take a concussion over anything by Joss Whedon. His style of writing hits you over the head enough to require a bottle of aspirin…
Like yesterday’s pick, I have only seen this the once. However, I was pleasantly surprised at the time as to how dark its tone was. Samuel’s remark on the cast is quite valid. It also inspired me to learn what I could about the real Nikola Tesla. A hugely interesting man. Castting Bowie to play him was inspired.
At its core, I remember it mostly as an exploration of certain key aspects of masculinity. The obsession, the need to win, the dark emotions, the showmanship, the ruthlessness, the brooding… In this sense, I think of it as being something of a twin to Claire Denis’ “Beau Travail”, despite the obvious stylistic and narrative differences.
Of all the real-life innovators of science out there I’d like to see a movie dedicated to, Tesla is certainly high on my own list. The only person I might rank at the top, without thinking, is Alan Turing. An intensely interesting man– WWII codebreaker, father of artificial-intelligence theory– who ultimately became something of a martyr for gay rights. Disgusting and shameful, the way he was whitewashed out of the book and film version of the “Enigma” story by Robert Harris, Tom Stoppard and Michael Apted.
I was completely underwhelmed by this one and in fact found similarly plotted The Illusionist to be a much more enjoyable film. So count me as very, very surprised by this one garnering a Top 10 placement.
I won’t take up space going over why, I’ll leave things open for those that are fans. But I’ll also join in with those who are very much looking forward to seeing Nolan’s Inception next week.
Aye Dave. I also prefer THE ILLUSIONIST to this.
I made sure I have sunday free to see Inception. I’m hoping it can be that next great Nolan movie I’ve been waiting for since Memento.
You mean next Sunday, right? Because if there’s an early screening in the NYC area, don’t keep it under your hat…
Nah Im a patient man. Next sunday will do fine.
Yes next……..
By the way, am I the only one who found this movie to be a little predictable? Frankly, I hadn’t seen a movie this renowned for having such a tricky narrative that I wasn’t able to solve about halfway through the running time. Even the nature of Tesla’s machine wasn’t really so much of a shock, thanks to John Weldon’s short “To Be” (one of the great Canadian cartoons). The presentation was clever and the visuals nice, but the story was probably the most disappointing of all Nolan’s movies. Here’s a film too full of itself to realize what it’s really full of.
Yes. (I’d add more but I agree 100% so what’s necessary to add?)
Don’t get me wrong, it was a decent, entertaining kinda movie. I just think too much time was wasted trying to pull the wool over the audience’s eyes, especially when the blend Nolan stitched was about as opaque as Patrick Bateman’s raincoat. I do enjoy all the behind-the-scenes stuff about magicians (especially cool to see Ricky Jay at the beginning, though there wasn’t enough of him), but I can’t help but think the movie was a little resistant at having the same kind of fun with theatrical bullshit showmanship that guys like Welles relished in. Also, can somebody please clue me in to Michael Caine’s motivations at the end? Without spoiling anything, I can’t for the life of me figure out why he didn’t reveal the truth about Lord So-and-So, considering the life-or-death circumstances he yells about. Makes for a “cool” close, but… It’s just kinda cheap.
The only other movie that was this easy for me to call, despite the reputation of being such a big surprise, was “The Sixth Sense”, where audiences apparently weren’t able to make the conceptual leap to think that a man shot in the gut in scene 1 might actually be one of the dead-people li’l Haley Joel had a habit of conversing with. Are people really that easy to fool, that Shyamalan and Nolan are able to get away with banal “twists” like these? It makes me long for the simple, conniving pleasures of “The Sting”…
I agree The Sixth Sense was an easy twist to see – and a massively overrated movie, but in The Prestige the twist isn’t the thing. In TSS it’s everything.
True, there are other things to admire in Nolan’s film. The behind-the-scenes of illusions and magic tricks, the historical Tesla-fiction, the variously captured and imagined sights and sounds. None of it’s remotely enough for me to call it a great film, but at the end of the day, it is more worth watching a second time than TSS.
Shyamalan did make a truly great movie once, in “Unbreakable”, where he played with comic-book mythology just enough to pack inventions and surprises that breathed a real life into the superhero genre. Too bad it died at the box-office, leaving him to repeat himself in one increasingly strained and pathetic cinematic parlour trick after another.
Nice surprise here – I can’t see myself ever putting this in a top 10 for the decade but I quite enjoyed it (I liked The Illusionist too) and am happy to see it on yours. Until The Dark Knight, I tended to like Nolan’s less noticed films – this and the remake of Insomnia – more than his “big” pictures, Memento and Batman Begins.
Out of the remaining 9 – we’ll definitely see Mulholland Dr., and I think we’ll also see Zodiac, Oldboy, 2046. Good chance The Incredibles, though it seems a bit high especially given the placement of other Pixars (then again, a number of people think it’s their masterpiece). Maybe Pan’s Labyrinth. Not sure your thoughts on Inglourious Basterds, but I kind of think that won’t make the cut.
I’m really hoping for Zodiac, which while it does have some very devoted followers, I think deserves even more recognition as one of the best films of the decade.
I don’t mind saying, boys, that of all those listed by MM, only two will follow. Pan’s Labyrinth, for example, was in the nearlies as was Oldboy.
I have already said that I am not a fan of Zodiac, whiler Inglourious Basterds was only remotely watchable for Waltz.
You bastard…….lol
Don’t think The Proposition was in your nearlies? The Counterfeiters maybe?
Er, no, not remotely good enough.
Whatever you say……
MM you’re missing a few I can think of–most notably IRREVERSIBLE. I think that one will place.
Good possibility Jamie, but I am not sure Allan gave that 5 stars. You know what, you may be right.
Oh definitely – good point. The films I mentioned were mostly American – at least a couple Europeans are bound to show up, and Allan’s hinted there will be more Asians as well. I’d love to see a Jia or two, as I’ve been getting into him recently, but I’m not sure that’s Allan’s taste (Still Life made the nearlies).
Joel, I’m stumped too, though I would bet money that you’ll see Haneke, Kar-Wai, Lynch and Jarrold in there in some order.
well in the CACHE essay Allan says that’s Haneke’s best film. Unless it was written pre-White Ribbon. I think 2026 and Mulhoulland are givens at this point.
Personally, I thought “White Ribbon” was awful. Therefore…
Well, normally anything you think is awful is pretty much a seal of approval….
Yes, Fish, that was the point. With the exception of “Heaven’s Gate”, the fact that anything I like you’re more or less bound to hate, and vice versa, more or less goes without saying. That’s why I didn’t say it.
Jamie, Allan wrote CACHE before he saw THE WHITE RIBBON. He said after seeing THE WHITE RIBBON that it was one of the decade’s greatest masterpieces, and it hasn’t appeared yet. I would guess it will check in at Nos. 5, 6 or 7.
Yeah, I don’t think we’ve seen any Godard yet. Were “In Praise of Love” or “Notre Musique” in the nearlies? I wouldn’t argue with those.
Allan will choose neither of those Bob.
Considering that Allan is a huge Rivette fan, and that Marie And Julien and Don’t Touch The Axe made his nearlies, I wouldn’t be at all surprised if Va Savoir showed up.
Would never have seen this coming. Good film, for sure. However, for me, while I can see it as a tricky ENTERTAINMENT and completely enjoyable as a next step after Martini’s and a good restaurant, I wouldn’t consider this at all as something to put up as one of the best of the decade, let alone the 10 best. Nolan, needless to say, is a director coming in to his own and his fusion of art and entertainment is a pure throwback to the films of the 50’s that satiate both the casual viewer and the intellectual. Jackman, as he did with THE FOUNTAIN, proves he’s more than just your good-looking action film star. In all, a mind-twisting little romp.
I can only repwat the tagline, Dennis. One viewing is NEVER enough for this, it requires at least 3.
I think The Prestige is much better than The Illusionist. One is a brilliant semi-failure, the other is just another boring period romantic melodrama.
While I am surprised to see this at number 10, I’m happy. It’s not an usual choice and I think it will cool down people’s own choices. Now no one will know what’s coming. Who knows? Maybe Dr. Horrible? I’m just being extremily optimistic, but maybe “Domino”? Or maybe I’m the only person on earth that liked that movie.
Some other Ghibli?
I don’t think another Pixar maybe in store.
But as I said, no one can know now, it’s nearly impossible, this was a huge blow for everyone (not for me, I love this movie and is my second favorite Nolan after Memento) and I think this countdown gets interesting.
This was a very good film but it isn’t in the same league with the great films made from the great master directors of the decade: Wong Kar Wai, David Lynch, Edward Yang, David Cronenberg, Michael Haneke, Werner Herzog, The Coens etc. Christopher Nolan has already been lauded as one of the best directors of his generation and while I have seen good films from him, I’ve yet to see a film of his that reaches the same level of brilliance as his masterpiece Memento.
MOVIEMAN. I’m certain that you’re right on at least two of the three. 2046 is hovering and I would not be surprized at all, considering Allan’s love for Asian cinema and deep appreciation for the films director, if it DIDN’T take the top prize (actuallyn I’ll take wagers on it placing No. 1). MULHOLLAND is the only AMERICAN film that could displace 2046 for the top spot, but I doubt it. So, I’ll go all the way in predicting 2046. THE INCREDIBLES???? I would LOVE to see it place, its my FAVORITE of all the PIXAR masterworks, but, I’m pretty sure Allan considers WALL-E the high water mark for that production house and, as it already placed on the count weeks aqo, find it doubtful the suburban super-hero flick will figure at all. Sad, really, but I cherish your enthusiasm!
The Incredibles is, at least compared to the best of Pixar, mediocre. I give it ***½.
I liked Incredibles fine, but I agree that Wall-E and some of the other Pixars were more exciting. Incredibles had a fun and very clever concept and story, which led many critics to call it the best Pixar, but I didn’t feel it had the same “magic” I got from some of the other pictures. Haven’t seen Up or Toy Story 3 yet, incidentally, but for some reason it always takes me a year or two (or more) to catch up with Pixars. I’m not sure why.
I wasn’t sure if 2046 was going to be one of Allan’s picks – but apparently it will be. I’ll be happy to see it here, like many others I enjoyed it, felt that In the Mood for Love was clearly the superior film, but over time began to feel that perhaps this was true, but 2046 was my own favorite.
I kind of hope Mulholland Dr. isn’t #1, much as I think it deserves the spot, as I’d like to see the countdown end on a more congenial note than that pick’s likely to facilitate…
This is quite a great thread.
Saw the animated film DESPICABLE ME this afternnon (and liked it a lot) on a day I was able to take a break from the Mann Festival (as today’s offerings are the same as yesterday’s) so we have three outstanding animated films this year. (TOY STORY 3 and HOW TO TRAIN YOUR DRAGON are the others)
I will be leaving the house shortly to check out THE KIDS ARE ALL RIGHT (Cholodenko/Julianne Moore) at teh Chelsea Cinemas in Manhattan with Lucille and Bob.
It’s funny, I would take Allan’s comparison between this and The Illusionist and basically swap the names. I felt that The Illusionist far better captured the actual allure and wonder on illusion and that the unraveling of the mystery took far less away from it than The Prestige’s resolution did. What I love about the film, though, is the Tesla stuff and the more atmospheric feel of the film over The Illusionist. I don’t think either qualifies as a masterpiece, but I’ve since come to appreciate both and The Prestige has risen slightly in my estimation.
The Illusionist was all about the twist and was a single viewing experience, watch it again and again it becomes more formulaic, but The Prestige gets richer and richer with reacquaintance. I must have watched it a dozen times now and it gets better each time.
I agree! I watched it again the other night in preperation for Inception (which was fantastic btw)…and it’s so fun to dissect the turns. It’s not about the twist…it’s about the turns.
Between the love you’ve given it and some of the attention it’s gotten this week with all the Inception hoopla (and God did it deliver), I’m gonna check this out again. I saw it twice (both on home video) when it came out, but I was only 16/17 at the time and I hadn’t really gotten into film yet, so I’ll be more studious when I revisit it. Hopefully I see what you and so many others have been praising in it lately.
I watched this for the second time last night. Seeing it alone and really doing the dirty work of concentrating helped. This is a ****1/2 movie that is almost as wonderful as Memento. I thank you Allen for prompting me to give it a second chance. I liked it the first time but a second viewing unraveled the riddle.
No-one can appreciate it in one viewing, Maurizio, it’s one of the great ignored films of the decade.
There are people online still believing that the machine works…
Absolutement! 🙂 A devil whose greatest trick was convincing fools to just watch once.
Yeah a second viewing clears stuff up. We want to believe the machine works and that we make our own assumptions about what is real regardless of obvious clues. Every magic trick can be explained if one wishes to do so. Some of us would rather succumb to the magician’s charm instead.
It goes deeper than that, though, I think, as the final shot clarifies the twist even on first viewing, it’s more the intricacy of the trick, not so much trick within the trick as WITHOUT…one man’s twin is another’s doppelganger, where does the trick end and where does it begin? Essentially it makes you stand back as the audience to the audience, dares you to guess the ending, which if you’re paying attention many will, and then dares to pull the rug out right from under you again. You think you’ve got it and you have, but you’ve still been watching the trick to the end, so does the trick itself matter…whether clueless of clued up, you’re in the magician’s/director’s thrawl. In the end, the trick is merely a means to an end, but unlike in the likes of The Sixth Sense or even a very decent film like The Usual Suspects, the trick is pretty much everything, knowing the method of the trick doesn’t matter. You’re still hooked.
Easily Nolan’s masterpiece.
Even the Wikipedia page has no mention of Tesla’s machine as being a fake. I sometimes wonder if people really pay attention to a movie when they are watching. It reminds me of The Fountain. The back of the case talks about that films “1000 year odyssey to defeat humankind’s most indomitable foe: death”. Jackman’s character was never a conquistador. That is simply the story that he reads from his wife’s book. The science fiction parts are visually the ending that he has written to finish the final chapter that his wife wished before death. There is no 1000 year journey to defeat mortality. The tree of life parts are him getting over the agony of her passing and making sense of his loss. I always felt it was somewhat obvious when watching.